Steve Denny

Thanks, Ray, I did call John who turned me to Justin Conway. He was incredibly helpful. I believe living in the midwest, my resume and several member who endorsed me made a significant impact. I've been able to avoid the horror stories I've read of inflated documentation and paper work. I am very pleased with the prospect of joining.

Thanks, Mike. That's what I'm looking for. I appreciate the info. Anyone else?

The majority of commentaries on DVD extras tend to be from the Director/Actor(s). Please feel free to post your favorite DVD's that include DP commentaries. I find myself renting any movie that has this feature and I find them infrequently. Maybe you'll list some I haven't seen. Thanks.

I am located in Indianapolis, Indiana. USA The stock numbers that start with "72" are always 16mm. Yes, if your camera is set up for Super 16, these stocks can be used for that format. The stock numbers that begin with "52" are designated for 35mm I am accepting offers. The stock numbers that start with "72" are always 16mm. Yes, if your camera is set up for Super 16, these stocks can be used for that format. The stock numbers that begin with "52" are designated for 35mm I am accepting offers.

I have the following inventory of film stock I am willing to sell: 7218 Stock: (9) 400' rolls (2) 400' Re Cans 7245 Stock: (3) 400' rolls (2) 400' Re Cans 7205 Stock: (6) 400' Rolls 5218 Stock: (6) 400' Rolls (1) 400' Re Can Make an offer.

Though I am a DP, I'm considering joining as an Operator as these are the jobs I am missing right now and are available to me through a few DP's that request my work. I'm aware of the dues and initial membership fees. I'm simply organizing and preparing before I make any decisions. Thanks to all for the feedback. Steve

Thanks, David. I'll call tomorrow and post what happens for archive FYI. Steve

The only info on my pay stub is the company letterhead and logo (Indianapolis Motor Speedway Productions) and the standard earnings, tax deductions, etc. There is nothing that lists me as a DP with the company. Can a letter from a company executive/manager help? I'm shooting in a DP/Operator capacity for this company approx. 250 days a year with an eye on freelancing again someday soon with my card. I think I will have to call the Guild office directly, i was just hoping for quick info as I fear a maze of automated voice mails, redirects and put-on-holds!

I am full time staff DP with IMS Productions, an extension of the Indy Racing League. We are to the Indy Car Series what NFL Films is to the NFL. I'm assuming I can count my full time status of DP-ing and Camera Operating for the production company toward the 100 Days paid work for acceptance into 600? I still freelance on the side for NFL Films and various commercial shoots, TV Pilots, etc., but that work is nowhere close to getting me my 100 Days mark as I'm full time shooting for the league. Can someone verify to me that my full time gig is sufficient and satisfies the regulations for acceptance? Do I simply provide copies of my bi-monthly paycheck stub? Thanks. Steve

I need to replace some Anton Bauer Dionic batteries. Does anyone have experience with the IDX Endura Battery System? I'm not sure if I want to simply replace the Dionics with Dionics or convert to a new system in the IDX Endura series. I thought I would check here for any "hands-on" opinions of the Enduras. Thoughts?

David, Thank you for the response. I appreciate your input. Steve

I have a 35mm spot I must DP. My problem is it dictates a larger than usual green screen that I have not experienced. The shoot is an Indy Car pit stop. The story board dictates the camera being about 100' on a fairly wide frame (35-50mm) from the pit box where the car will enter, crew will changes four tires, and car will exit frame. As the car enters the frame, camera moves in to settle on a medium shot of a crew member as the car has exited frame. My dilemma: Is there a soundstage in Chicago large enough for this move? If we go outside, where the heck am I going to find enough green screen to cover that intial wide shot from almost 100' away from the car? It seems that I would need almost 4 stories high of cloth while I would have to paint the foreground? I do not know where to begin to secure this large of a green screen surface for my background. Steve

My company is going HD. In my limited knowledge of HD, I'm curious where I could find someone to speak with about the Varicam package and ALL accessories I would need to go forward with a purchase. Cables, batts, cases, baseplates, lenses, etc. I don't know how many of our current Digi and SP accessories will "crossover" to HD. Any suggestions on where to call?

Thanks Brian...I used to work at NFL Films (still freelance for them) and I got some names of a couple of houses on the east coast...I'll give Fletch a call, though, too. Thanks.

Can someone recommend a rental house for SD lenses? I am specifically looking for the Fujinon A42 x 13.5 for renting but I'm not opposed to a house that also rents the Canon line as well. Any suggestions for good companies you've worked with is appreciated.

Every issue of my AC magazine has an ad for the KODAK Interactive Educational CD's. After three years now, they've peaked my interest. Has anyone bought or viewed these? Are they a quality learning tool or are they merely a KODAK promotional tool? I have some people that I manage in my production house and I'm looking for some supplemental tools for them to learn with, since we do not have the budget to send anyone to the Maine Workshops. If you have not viewed these CD's but are aware of some other educational CD/DVD's let me know. I'd like to find something in the moving picture medium as opposed to the many books I have access to; something where the person can see the action as the set is lit, or the interview is lit, or the....etc.

Can anyone advise some great educational DVD for cinematography in general and lighting in particular??? I see the Kodak series always advertised in American Cinematographer magazine, but haven't heard any critiques on that series. Any firsthand knowledge of any valuable, educational DVD's explaining and showing the craft of cinematography (and/or video, Hi Def, etc.) will be appreciated.

By "full frame" I simply mean using the enitire Super 16 image as the camera is set up for S-16. We used to transfer the S-16 footage to 4:3, thus losing some of the image at the the edges. We transfer to Digi Beta and Beta SP format (NTSC). It seems that it does not matter how we transfer (16:9 or 4:3) in regard to HD as I'm assuming we must re-transfer in Hi-Def on HD stock? As for anamorphic, one client that tranfers their footage for us always sends it to us and the image is compressed or squeezed to create a vertical impression. We must always realign it in post. They call this anamorphic but I don't believe that is the coreect term for this transfer. What is that and why do they transfer it that way? What is the advantage of that? Thanks for your response, David. Steve

I typically transfer my Super 16 footage in full frame. I do not tranfer to a 4:3 ratio. With the intent to use library and stock footage down the road for HD release, should I change my transfer format? Someone suggested tranferring it anamorphically...is that possible in transfer?

Please bear with me. I shoot many events at sporting venues. Certain stadium lights cause a timing problem or strobing if I do not shoot at 30, 60, 120 fps. (are there other compatible frame rates?) What kind of lights are these that cause this problem? What is the technical explanation for this situation? And, finally, is there a way for me to determine or recognize this kind of lighting system when I walk into a new stadium with which I am not familiar? Thank you.

I subscribe to American Cinematographer Magazine. I enjoy the layout and information. Please respond with other magazines that you subscribe to or consider to be of similar quality. Thank you.

HD is new to me, so please bear that in mind as I ask, what are the best, most impressive HD lenses to the Varicam? I'm looking at three categories of wide angle, primes and telephotos. If you have some solid favorites, let me know. Then, if you can push me in the direction of what rental houses carry these lenses, I will aprreciate that communication as well. Thank you. Steve

HD is new to me, so please bear that in mind as I ask, what are the best, most impressive HD lenses to the Varicam? I'm looking at three categories of wide angle, primes and telephotos. If you have some solid favorites, let me know. Then, if you can push me in the direction of what rental houses carry these lenses, I will aprreciate that communication as well. Thank you. Steve

I have a subscrition to "AMERICAN CINEMATOGRAPHER" and welcome some suggestions on additional cinematography publications open for subscription. Thanks Steve

I'm shooting a commercial on S16 but have to mount some POV's on a custom motorcycle, the owner of which is not going to let me strap a 16mm body on the bike. I figure my only option is to go small. Is the lipstick-style camera my only option here? If so, can someone direct me to a site for rental or some models to search? I will also need to be able to attach a fish-eye to the lens. Thanks, anyone! Steve